• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.9
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• pp.97-106
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• 2018

Oswald Mathias Ungers and Colin Rowe are likely to be classified as Neo-rationalists, Typologists, and Contextualists with Aldo Rossi and Krier brothers. In urban theory, Ungers and Rowe opposed modern urbanism and also rejected the methodology of mat-building and megastructure. Teaching at Cornell, Rowe suggested Collage City purposing the concept of Bricollage while Ungers advanced City in the City and Dialectic City. Their theories look similar, however, in detail, they strongly differ in interpretation from the context, plurality, and layer as well as the view of contemporary society and urbanism. Rowe, whose nostalgic approach adhered to Nolli's Rome, had a tendency toward formalist however, Ungers was a realist who was interested in the new type of modern city. The main objective of this study is to analyze the commonalities and differences between theses two urban theories carefully, to trace the causes of the differences in perspectives, and thereby to consider their impact on the present.

• Review of Culture and Economy
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• v.20 no.2
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• pp.19-45
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• 2017

This paper aims to apply our research and theorization on arts entrepreneurship to entrepreneurs active in the arts and cultural sector. Our goal is to develop proposals for practical actions that can support both arts entrepreneurs and supportive arts advocates. Using Action Research methodology, we hosted and facilitated two workshops with selected groups of arts entrepreneurs. Prior to the workshops we designed a questionnaire, based on the competency theory, to assess the qualities and characteristics of the participants. During the workshops we conducted surveys, interviews, and made observations in order to further understand the knowledge, experiences, motivations, capabilities, and attitudes necessary to successful arts entrepreneurship. We also conducted in-depth follow-up interviews with participants as a cross-check. We found that most of the participating arts entrepreneurs had a low understanding of the technology required for effective arts entrepreneurship, which has resulted in insufficient managerial support for artistic innovation. In addition, we found that participants lacked the skills and clear vision to construct a viable economic engine for their organization. Nevertheless, in light of the considerable strengths and high levels of enthusiasm and commitment participants evinced, we believe that their deficits can be corrected with education and training. Thus, we conclude by discussing the path forward and outlining a proposal to develop an innovative educational program on the daily operations of arts management that emphasizes applied technology and creating financial sustainability.